m u r d e r, s u i c i d e, w a r, h e r o i s m , f e a r, s u f f e r i n g . . .
This excellent explosive was used in the theatre for a long time as a basis for literary plot, dramatic action, intricacies, conflicts and sensation.
Its qualities and tendencies to e x p a n d and e x p l o d e determined the choice of formal devices, naturally effective and of similar nature:
e x p r e s s i o n
m o u l d i n g
f o r m
i l l u s i o n
n a t u r a l i s t i c a s s o c i a t i o n s with life,
“figurativeness”. . .
The development of this system of expansion is all too familiar to us, together with its splendour and glory.
Now we are interested in the moment when the means which became as if identified with the nature and essence of art,
inalterable (seemingly at least), binding formulas of the highest status – began to die, stiffen
and in the normal course of events the entire impressive array or index of life symptoms
changed finally
into an empty props room.
Once we reject the already powerless formal devices,
i l l u s i o n,